Romani music

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Romani musicians at a wedding in the Czech Republic in 2005
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Romani people
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Romani music (often referred to as Gypsy or Gipsy music, which is considered a derogatory term[1][2][3][4][5][6]) is the music of the Romani people, who have their origins in Northern India, but today live mostly in Europe.

Historically nomadic, though now largely settled, the Romani people have long acted as entertainers and tradesmen. In many of the places Romanies live they have become known as musicians. The wide distances travelled have introduced a multitude of influences, starting with Indian roots and adding elements of Greek, Arabic, Persian, Turkish, Serbian, Czech, Slavic, Romanian, German, Dutch, French, Spanish and even Jewish musical forms.[citation needed]

It is difficult to define the parameters of a unified Romani musical style, as there are many differences in melodic, harmonic, rhythmic, and formal structures from region to region. Lyrics to Romani songs are often sung in one or more dialects of the Romani language, and dance frequently accompanies Romani music performance.[7]

The quintessentially Spanish flamenco is to a very large extent the music (and dance, or indeed the culture) of the Romani people of Andalusia.

Apart from Romani music for local use, in Eastern Europe a separate Romani music originated for entertainment in restaurants and at parties and celebrations. This music drew its themes from Hungarian, Romanian, Russian and other sources of Romani origin, but was more sophisticated and became enormously popular in places like Budapest and Vienna. Later on it gained popularity in Western Europe, where many Romani orchestras were active, playing sophisticated melodies of East European origin. Probably the most influential Romani musician was Django Reinhardt (1910-1953).

Original Romani music

Original Romani folksongs - not derived from the countries where the Romani live - are relatively rare. This particular folk music is mainly vocal and consists of slow plaintive songs and fast melodies which may be accompanied by dancing. The fast melodies are accompanied with tongue-clacking, hand-clapping, mouth-basses, clicking of wooden spoons, and other techniques.[8]

Country-related music

Most Romani music is based on the folk music of the countries where the Romani went through or settled. Local music is adopted and performed – usually instrumental – and, slowly, it is transformed into Romani styles, which are usually more complex than the original styles. In its turn, Romani music has greatly influenced the local music. Among these the Hungarian versions have become best known, although examples of Romani music in other countries also endure.


The Romani people of Spain (Gitanos) have contributed significantly to the Andalusian musical tradition known as flamenco. Although it is not, strictly speaking, Romani music, Flamenco is closely associated to this ethnicity and a significant proprotion of famous flamenco artists are Gitanos.


Due to the large Romani population in Bulgaria, this ethnic group's music is very popular. It is also a part of the roots of chalga music, which is widely played at dances and parties in Bulgaria.


Wandering musicians in the wine gardens of Transylvania (Pennell, 1893)

The Lăutari were traditional Romani musicians, playing at various events (weddings, funerals, etc.)

The manele genre became very popular in Romania and is promoted mostly by Romani ethnic musicians.


The best known gypsy choir in Russia was the Sokolovsky gypsy choir.


Romani people are known throughout Turkey for their musicianship. Their urban music brought echoes of classical Turkish music to the public via the meyhane or taverna. This type of fasıl music (a style, not to be confused with the fasıl form of classical Turkish music) coupled with food and alcoholic beverages is often associated with the underclass of Turkish society, though it also can be found in more "respectable" establishments in modern times.

Romanis have also influenced the fasıl itself. Played in music halls, the dance music (oyun havası) required at the end of each fasıl has been incorporated with Ottoman rakkas or belly dancing motifs. The rhythmic ostinato accompanying the instrumental improvisation (ritimli taksim) for the belly-dance parallels that of the classical gazel, a vocal improvisation in free rhythm with rhythmic accompaniment. Popular musical instruments in this kind of fasıl are the clarinet, violin, kanun, and darbuka. Clarinetist Mustafa Kandıralı is a well known fasıl musician.


A typical type of Romani music is known as Tallava. Tallava originally made by the Ashkali minority in Kosovo in the 1990s. The genre of Tallava was later adopted among the Romani group. Tallava is common among the Balkans, but primarily among Macedonia, Albania,and Kosovo. This genre has influences from other Romani music such as Greek (Skiladiko)and Bulgarian (Chalga). It also blended with Turkish (Arabesque), Arabic (Arabic pop music),Serbian (Turbo-folk), and Albanian music. Tallava has its own distinct oriental style of music within the Balkans.


The Rajkó Orchestra and Folk Ensemble is known for preserving Hungarian Roma music, dance and costume culture since 1952. Their work carries on the traditions of century old gipsy dynasties. They are very popular in their home country as well as abroad. Their performances can be seen at a number of venues, among others, several times a week at the Danube Palace[9] of Budapest during the high season, which is between May 1 and October 31.

Another notable Roma music formation is Ando Drom. Established by Jenő Zsigó in 1993, the Ando Drom Foundation serves to promote Romany art, encourage young talent, and to allow the Romany encounter their own culture within the community, through the productions of the band Ando Drom, among others, a group pioneering the reinterpretation of Romany music and dance. Their music is contemporary in nature. Besides authentic Romany folk songs, they play a kind of urban Romany music which gives a voice to the present-day reality of the community. They avoid reconstructing the manners of old musicians and singers or their style.

Western Europe

The sophisticated music of the Romani orchestras that visited Western Europe became popular in the second half of the 19th century and had its heyday from the 1920s onwards to about 1960, although this music remains popular still today. The tours of rajkó-orchestras – featuring young Romani-musicians – added much to its popularity. The rajkó boys were both endearing and virtuoso, a combination that enchanted the public.

The cimbalom, unknown to the Western audience, added its characteristic sound to the violins played in a Romani style. Romani virtuoso like Bela Babai,[10] Lajos Veres, the many members of the Lakatos family and others became famous. Nowadays the names of Roby Lakatos, Buffo Sandor and Sandor Jaroka still are household names for the Western connoisseurs of this type of music.

The Western public regarded this genre as a counterpart to the other Romani-related music: Gypsy jazz. They regarded it as a typical Gypsy style: a fine specimen of Romani culture. In their Western European languages they valued it as “Gypsy music”, “Musique tsigane”, “Zigeunermusik”, etc.

Since 2014, an important project named with the support of the E.U. wants to recognize the major importance of the Romani Music in classical music as Jorge Chaminé, one of the founders of this project wrote. The values promoted by this project are recognition, understanding of others, creativity, tolerance and admiration. This project will promote Romani values to build intercultural bridges, social inclusion and educate children through music.

See also


  1. Dalzell, Tom (2007). The new Partridge dictionary of slang and unconventional English (Reprint. ed.). London [u.a.]: Routledge. p. 943. ISBN 0415259371.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  2. Merriam-Webster's pocket guide to English usage. Springfield, MA: Merriam-Webster. 1998. p. 178. ISBN 0877795142.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  3. Garner, Bryan A. (2009). Garner's modern American usage (3rd ed.). New York: Oxford University Press. p. 405. ISBN 0195382757.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  4. Baskin, [by] H.E. Wedeck with the assistance of Wade. Dictionary of gypsy life and lore. New York: Philosophical Library. ISBN 0806529857.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  5. Garner, Bryan A. A dictionary of modern legal usage (3rd ed.). New York: Oxford University Press. p. 400. ISBN 0195384202.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  6. Bolaffi, Guido (2002). Dictionary of race, ethnicity and culture (1. publ., [Nachdr.]. ed.). London: Sage. p. 291. ISBN 0761969004.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  8. Zigeunermusik, Balint Sarosi, Budapest 1970, in English, German and Hungarian edition, see chapter 3
  10. Gypsy Love, Bela Babai, "King of the Gypsy Violin", and his orchestra. Columbia Records CL636


  • Broughton, Simon, "Kings and Queens of the Road". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 146–158. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
  • Balint Sarosi, "Zigeunermusik" (Gypsy music), Budapest 1970, in English, German, Hungarian

External links